Life is a flowing mirror, from the first wail of birth to the serene composure of old age. At every stage of existence, individuals rediscover and redefine themselves. This exhibition represents a cross-disciplinary collaboration between psychology and contemporary art—a profound observation and artistic rendition of the evolving self-perception throughout life's journey. Rooted in psychological theory, the concept of the "Looking-glass self," first proposed by Charles Horton Cooley in 1902, illuminates how we construct our self-image through the eyes of others. It prompts reflection: Is the self we perceive authentic, or merely a reflection shaped by others' gazes? Through diverse art forms—video, installations, and conceptual photography—the exhibition focuses on self-cognitive trajectories across three pivotal life phases: "The Commencement of Life," "Self-Awareness," and "Aging and Community." Art itself serves as a mirror, reflecting creators' inner worlds while refracting the spiritual landscape of their era. Here, each artwork acts as a unique mirror, embodying artists' contemplations on self-identity while inviting viewers to engage in dialogues about personal identity. As audiences navigate the gallery, they observe not only artworks but also their mirrored selves—multifaceted identities fractured and refracted by countless lenses.

Beijing Normal University's Psychology Department, long dedicated to psychological and pedagogical research, emphasizes contemporary artistic practice to evoke emotional resonance. The exhibition encourages viewers to reflect on growth and transformation across life stages. It is both an artistic exploration of psychological development and a novel interdisciplinary experiment in contemporary Chinese art ecology. Every piece mirrors emotional memories and identity struggles at different life stages. Finally, gratitude to the Zhai Zi Space team and all supporters of contemporary art ecology. Born from a desire for exchange and expression, the "Looking-glass Self" project invites everyone to explore—each measuring life's invisible yet tangible weight in their own way.

By Ding Hengyang, Yu Hao, Lv Xinyu

策展团队

北京师范大学数学科学学院本科在读。清华大学地平线全球发展计划成员，世界经济论坛全球杰出青年。国际畜牧科技青年社联合创始人，关注心理健康与认知科学，始终保持进取心，在追求“让人类持久幸福”的道路上不断前行。

艺术家、策展人，1998年出生于河南商丘，毕业于北京师范大学，现工作生活于北京、西安两地，作品偏向行为表演、装置、影像，多借由个体经验情感和集体社会中的现象和感知，延伸至哲学、社会社区生活隐喻和家庭关系。一直以来都致力于在探索空间中物质的“边界”的讨论，实践于社会空间内的艺术表达，勾连出一些社会现象的反思，曾获香港当代艺术铜奖，作品曾在浙江美术馆、西安美术馆、西部美术馆、意大利ISOLART画廊等空间展出。

吕欣雨

策展人、音乐人、多面手乐队主唱、C公益项目运营官。天津财经大学会展经济与管理专业在读，曾获2024SROM云上策展大赛“先锋策展人”。

学术主持

彭华茂 

北京师范大学心理学部教授、博士生导师，中国心理学会老年心理专业委员会副主任，中国老年学和老年医学学会老年教学研究分会副主任及老年心理分会委员，美国斯坦福大学访问学者，学术期刊《心理发展与教育》编委。主要讲授《发展心理学》《老年心理学》课程，研究方向为老年人认知功能维持与促进、老年人决策行为与情绪、老年人亲子关系、老年教育等。

中央美术学院实验艺术与科技艺术学院副教授。本科毕业于西安交通大学，获汉语言文学和管理学双学士学位。2008年，于北京大学社会学系攻读社会人类学专业，在中国西藏山南的桑耶寺做田野考察，以其藏学人类学研究获博士学位。2014年，于中央民族大学民社院从事博士后研究，在青海果洛的红科寺做田野考察，2017年博士后出站。2019年入职中央美术学院，在实验艺术与科技艺术学院任教，至今。教授“田野考察：口述历史”“影像人类学”“论文写作”等课程。已出版日记民族志《无始无终：转山》（2020，西藏藏文古籍出版社），学术专著《仪式空间与文明的宇宙观——桑耶寺人类学考察》（2022，西藏藏文古籍出版社）。

艺术家

1.安宁

艺术家形象照：

作品信息：

Turtle shell (龟壳)

宝丽来，动态影像，投影，200*170*50cm，2024

Polaroid, Motion Image, projection, 200*170*50cm, 2024

作品简介：

A peek at the shadow of the past

A reflection of oneself

A gaze from a safty shell

A personal joy

Why we still here?

Because we can’t living in the black box without a pin hole.

一瞥过去的阴影

自我的反思

安全壳里的监视

个人的喜悦

我们为什么还在这里？

因为我们无法生活在没有针孔的黑匣子里。

一切都源于一段经历，刚抵伦敦时在朋友家借住。被朋友的女朋友逐客，没有地方可以暂住。所以选择了双树希尔顿。在居住了半个月之后搬入了新公寓。就在路对面。有一个可视化门铃。在那之后就时不时的看着它。看着走来走去的人和车。想他们在想什么，他们在面对什么，他们处于什么情境中。

开始和他们建立连接，使用这种方式。很奇怪的是当开始链接一切的时候突然感觉释怀。所有我经历的事都变得无害了。开始认为被囊括进他们的一员。就像在扮演一个游戏中的npc，摄像头就是二重身。观察着这一小片世界，有趣的是身处实地的时候感觉到的是疏离。而存在于现实的背后的时候感受到的却是融入。我想这就是我为什么做出这一个针孔的原因。

Everything originated from an experience. When I first arrived in London, I stayed at a friend's place as a guest. However, I was asked to leave by my friend's girlfriend, and I had nowhere else to temporarily stay. So I chose the DoubleTree by Hilton. After living there for half a month, I moved into a new apartment, which was just across the road. There was a visual doorbell. After that, I would look at it from time to time, watching the people and cars coming and going. I wondered what they were thinking, what they were facing, and what situations they were in.

I started to establish a connection with them in this way. Strangely enough, when I began to connect everything, I suddenly felt relieved. All the things I had experienced became harmless. I started to think that I was included as one of them. It was like playing an NPC in a game, and the camera was my doppelganger. I observed this small part of the world. Interestingly, when I was physically there, I felt a sense of alienation, but when I was behind the scenes of reality, I felt a sense of belonging. I think this is why I made this pinhole.

 2.陈川端

艺术家形象照：

作品现场：

《盐渍》Salting

《像野兽一样透明》Transparent like a beast

《这片土地使我治愈》Restorative Topophilia

摄影，艺术微喷，2023

Photography, Art Micro-spray, 2023

作品简介：

此次参与展览的作品，选自我2020年至2024年间创作的三个不同的摄影项目，但共同记录了我自身在与他者、环境乃止自我思绪的触碰，以及所得到的生命记忆，由此诞生的一种生存诗学。「盐渍」暗喻生命经验的双重性-那些带来伤害的盐石与治愈的湖水本是一体，正如他人给予的创痛与善意共同塑造着我们的生命质地;「这片土使我痊愈」将愈合的场域扩展到更辽阔的人文地理谱系，通过收集具有治愈力量的自然地貌与人文图景，呈现古老纯真对现代疲倦的安抚;「像野兽一般透明」则转向内在真实性的探讨，抛却社会规训的外壳，我得以袒露未被驯服的生命原态与最淋漓尽致的表达欲。

影像创作的过程如同棱镜，目光是切割的盐岩，记忆是重构的土壤，原始本能是未被磨蚀的本真，自我镜像的重构最终在盐渍、根系与兽瞳的交织中得以完成，也得以传递。

"The works featured in this exhibition are selected from three distinct photography projects I undertook between 2020 and 2024. Together, they document my interactions with others, the environment, and even my own thoughts, capturing the resulting life memories and giving birth to a kind of survival poetics. 'Salt Cure' metaphorically represents the duality of life experiences-the salt rocks that cause harm and the healing lake water are one and the same, just as the pain and kindness from others collectively shape the texture of our lives. 'This Land Heals Me' expands the realm of healing to a broader human and geographical spectrum, presenting natural landscapes and human scenes with curative powers, offering ancient purity as a solace to modern fatigue. 'Transparent Like a Beast' turns inward to explore the authenticity within, shedding the shell of societal conditioning to reveal an untamed primal state of life and the most unrestrained expression.

The process of creating these images is akin to a prism; the gaze is the cutting salt rock, memory is the reconstructed soil, and primal instinct is the uneroded essence. The reconstruction of self-image is ultimately achieved through the interplay of salt cure, roots, and the eyes of a beast, and it is through this interplay that the message is conveyed."

3.郭珈汐

艺术家形象照：

作品一现场：

Ling mointain

手制书，硬卡纸，手工宣纸，菲林片，硫酸，2021

Handmade book, cardboard, handmade rice paper, film, Sulfuric acid, 2021

作品简介：

位于杭州钱塘江与富春江交汇一带的灵山山体岩石适于建造，大量开采后遗留下独特的景观地貌。在矿区土地即将复绿填平、即将成为另一种景观之前，记录下这一段将永久成为历史的图像。我用摄影手工书的方式处理和记录这些独一无二的游走方式与空间体验：当我们用双脚去攀登，眼睛是看不到风景的，因为我们在全身心的用身体和动作去感知山的形势；而当我们驻足停留时，风景才会尽收眼底。因此用身体感知地形的部分，没有任何图像表现，都是切割后的山势；对于观看的时刻，则是将画面打印于宣纸，贴附于书页表面。身体与视线便是如此构成了游走和记录。

同时，所有被切割的体块都可以通过书籍的开合结构得以还原为完整的方体，正如同我们对山体的索取、逝去的过往、已故的亲人和生活的印记，仍以另外的方式存在着，化作风雨，穿越时间，回归如一。

The rocks of Lingshan Mountain, located at the intersection of Qiantang River and Fuchun River in Hangzhou, are suitable for construction, and the unique landscape remains after extensive mining. Before the land in the mining area is about to be re greened and leveled, and become another landscape, record this image that will permanently become history. I use Photobook or Artist's Book to process and document these unique ways of walking and spatial experiences: when we climb with our feet, our eyes cannot see the scenery because we are fully immersed in perceiving the mountain's situation with our bodies and movements; And when we stop and stop, the scenery will be fully visible. Therefore, the part of the terrain that is perceived by the body, without any visual representation, is the cut mountain terrain; For the viewing moment, the image is printed on rice paper and attached to the surface of the book page. The body and line of sight thus constitute wandering and recording.

At the same time, all the cut blocks can be restored to a complete square through the opening and closing structure of the book, just as our demands on the mountain, the passing of the past, the imprints of deceased loved ones, and life still exist in other ways, transforming into wind and rain, crossing time, and returning to unity.

作品二现场：

The Life of Circulation

摄影装置，UV打印，亚克力，PVC,灯箱等，2023

Photography installation, UV printing, acrylic, PVC, light box, etc., 2023

作品简介：

该项目灵感来源于中国古老的农耕文化桑基鱼塘。桑基鱼塘是为充分利用土地而创造的一种“塘基种桑、桑叶喂蚕、蚕沙养鱼、鱼粪肥塘、塘泥壅桑”的高效人工生态系统。从种桑开始，通过养蚕而结束于养鱼的生产循环，构成了桑、蚕、鱼三者之间密切的关系，形成一套比较完整的能量流系统。

从桑、蚕、鱼三者及其衍生物、补给物或其他形态出发，从剥离了多余色彩的影像形态上依然可以找出它们之间不可或缺的关联。我尝试构架出一种介于各种循环形态之间的孔洞结构，贯穿在各种示意着循环过程的图像之间，进而产生一种可视化的能量加固与提纯。借此为桑基鱼塘这种中国农耕社会最为高级的农业形态建立一种更为抽象的模型，也希望通过这种模型去观看生命、生态、自然之间的某种“天作之合”。

The Life of Circulation

Mulberry-plotfish pond is an efficient artificial ecosystem created for the full utilization of land, which includes planting mulberry in the pond, feeding silkworms with mulberry leaves, raising fish with silkworm sand, fertilizing fish manure in the pond, and blocking mulberry with pond mud. Starting from planting mulberry, the production cycle of raising silkworms and ending with raising fish forms a close relationship between mulberry, silkworms, and fish, forming a relatively complete energy flow system.

Starting from the three forms of mulberry, silkworm, and fish, as well as their derivatives, supplies, or other forms, the indispensable relationship between them can still be found from the image forms that have stripped away excess colors. I am trying to construct a pore structure that lies between various cyclic forms, running through various images that illustrate the cyclic process, thereby generating a visual energy reinforcement and purification. By doing so, we aim to establish a more abstract model for the most advanced agricultural form in Chinese agricultural society, the Sangji Fish Pond. We also hope to observe a "natural fit" between life, ecology, and nature through this model.

4.刘江昊

艺术家形象照：

作品一现场：

《时间印章》

Time Stamp

物品, 60x60x10mm 黄铜，2023

Item, 60x60x10mm brass, 2023

特制印章，两端皆可使用

Special stamp for use on both ends.

作品简介：

按下印章的瞬间，“现在”变成“过去”。在某些时刻，是可以在时间中穿梭的，过去、现在和未来交织在一起。此印章的存在是将时间的概念转化为一种可见且可触摸的形式。

 The moment the seal is pressed, the "present" turns into the "past". At certain moments, it is possible to travel through time, and the past, the present, and the future are intertwined. The existence of this seal transforms the concept of time into a visible and tangible form.

 作品二现场：

作品信息：

《从1973年到XXXX年的手》

Hands from 1973 to XXXX

 雕塑，尺寸可变，树脂，2023-2024

Sculpture, size variable, resin, 2023-2024

作品简介：

手机的发明可以追溯到 1973 年，如今它已成为影响社会生活的一件物品，并在其中扮演越来越重要的角色。电子设备作为一种 “生命假肢”的重要性与日俱增，且它与我们身体的变化息息相关，这种附属装置或将被慢慢写入人类基因。

随之而来的这种数字达尔文主义，作为一种可能的延伸：既是通讯工具，也是助手；身体适应其活动，同时设备也会形变和塑造身体，呈变异状的手将会成为未来工具发展的前提。随着时间的推移，一双超人类主义的手会适应任何未来工具的使用。

The invention of the mobile phone can be traced back to 1973. Today, it has become an item that influences social life and plays an increasingly important role in it. As a kind of "life prosthesis", electronic devices are becoming more and more important, and they are closely related to the changes in our bodies. This kind of auxiliary device may gradually be incorporated into the human genes.

The accompanying digital Darwinism, as a possible extension, serves both as a communication tool and an assistant. The body adapts to its activities, and at the same time, the device also deforms and shapes the body. The mutated hand will become the prerequisite for the development of future tools. As time goes by, a pair of transhumanist hands will be able to adapt to the use of any future tools.

5.牛童

艺术家形象照：

作品现场：

作品信息：

《梦里不知身是客》

"I don't know I'm a Guest in a Dream"

摄影，艺术微喷，2021

Photography, Art Micro-spray, 2021

作品简介：

一幅照片不是世界的描述，而只是一个新的事物。我对家与江南有独特的依恋，这种依恋存在意象当中，存在一次次毁坏中。我借助摄影重新回顾我的家乡与成长。

以安徽、江苏和浙江作为表达的物理空间，一个无形的车轮从80年代起碾过途径的地方。家族迁徙的痕迹显现在书信、照片、笔记与物件之上，它们指向了地理、成长、温柔与伤痛。通过摄影的方式，为故事中的人物和事件进行注脚，试图借助时间的河流将情感摆渡到恰当的位置，在河流中穿梭并感受湍流和潮水，还原成长的图景。

历史混杂在成长的过程中，我们在河流的彼岸呼唤着过往的记忆，无论何时何地，都希望听见回声，在一片焦灼中蕴育出新生，等待新的故事。

A photograph is not a description of the world, but merely a new object. I have a unique attachment to my hometown and the Jiangnan region, and this attachment exists within the realm of imagery and amidst repeated destructions. I revisit my hometown and my growth through the medium of photography.

Using Anhui, Jiangsu, and Zhejiang as the physical spaces for my expression, an intangible wheel has been rolling over the places it passes through since the 1980s. The traces of my family's migration are evident in letters, photographs, notes, and objects. They point towards geography, growth, tenderness, and pain. By means of photography, I provide annotations for the characters and events in the story, attempting to ferry my emotions to the appropriate place through the river of time. I navigate through the river, feeling the turbulence and tides, and strive to restore the picture of my growth.

History is intertwined with the process of growth. We call out to the past memories on the other side of the river. No matter when and where, we hope to hear an echo. Amidst the anxiety, new life is nurtured, and we wait for new stories. 

6.施阳

艺术家形象照：

作品一现场：

《铸壳》

The Cast Shell

摄影，艺术微喷，宝丽来移模，2024

Photography, Art Microspray, Polaroid Transfer, 2024

作品简介：

相比较于县城的安逸，乡村的质朴，城市对青年来说似乎是一个更为合适的根据地。我们在城市之中成长、学习、成立家庭，在其中兜兜转转。我拍摄了来自福建三明的青年，靠海而居的地理位置使他们的生活、家族、身份以及社交圈都与这片土地紧密相连。在这些青年的身上我看到了独属于福建的“祖籍意识”，他们的认同感仍然根植于这片土地和文化。

青年在城市之中，会将卧室作为一个安全、私密的场域和落脚点，也是主人成长和情感的延伸。我拍摄了他们卧室的空间——从儿时不知名的摆件，到见证成长的家庭照片，再到青春期羞涩的情书，以及从他乡带回的“纪念品”。结合与他们对谈的文本，我试图展现这些年轻人与三明之间的情感纽带。

“生命在贝壳封闭的环境里得到安全感。无论是强者还是弱者，在生命中面对巨大的悲伤或与命运的抗争，总会想‘回到自己的壳里’”。诗歌描绘了贝壳作为庇护所的形象，它为生命提供了一个私密而安全的空间。 “铸壳”，意在以贝壳为媒介，赋予其空间的象征意义。制作过程如同在铸造青年的个人空间，拾起贝壳，就像揭开了一层隐私的面纱，仿佛走进了这些青年的“庇护所”，感受他们对这座城市的依赖与对自我身份的探寻。

Compared with the comfort of the county town and the simplicity of the countryside, the city seems to be a more suitable base for young people. We grow up, study, and start families in the city, constantly moving around within it. I have taken photos of young people from Sanming, Fujian. The geographical location of living by the sea makes their lives, families, identities, and social circles closely connected to this land. In these young people, I have seen the unique "ancestral consciousness" of Fujian, and their sense of identity is still deeply rooted in this land and culture.

When young people are in the city, they regard their bedrooms as a safe and private space and a foothold, which is also an extension of the owner's growth and emotions. I have photographed the space of their bedrooms - from the unknown ornaments in childhood, to the family photos that witness their growth, to the shy love letters from adolescence, and the "souvenirs" brought back from other places. Combining with the texts of my conversations with them, I try to show the emotional bond between these young people and Sanming.

"Life finds a sense of security in the enclosed environment of a shell. Whether one is strong or weak, when facing great sorrow in life or struggling against fate, one always wants to 'go back to one's own shell'." The poem portrays the image of the shell as a shelter, which provides a private and safe space for life. "Casting the shell" aims to use the shell as a medium and endow it with symbolic meaning of space. The production process is like creating the personal space of young people. Picking up a shell is like lifting a veil of privacy, as if stepping into the "shelter" of these young people, feeling their dependence on this city and their exploration of their own identities.

 作品二现场：

 作品信息：

《动物寓言》

The Fable of Animals

数码 大画幅 宝丽来 2025

Digital large format Polaroid 2025

作品简介：

我出生于民俗文化底蕴深厚的福建省，自幼听过不少民俗相关的典故，其中，“虎家婆是儿时惧怕的鬼怪之一，成为了我童年时期夜晚不愿入睡时心中挥之不去的阴影。每当夜幕低垂，我抗拒睡眠的时候，外祖母便会讲述关于“虎家婆”的惊悚故事作为警诫，声称不睡觉的孩子将被虎家婆掳走，这样的恐吓往往能奏效，迫使我紧闭双眼，沉入梦乡。

随着成长，我离开了家乡，跨越了地理与文化的边界。从台湾海峡到大陆腹地，再到更遥远的异国他乡。我逐渐发现，民俗故事并非孤立的存在，而是一种跨越时空的共通语言。无论是东方的“虎家婆”，还是西方的“恶魔”，这些故事在本质上都承载着相似的文化功能:它们是对未知的恐惧、对道德的训诫，以及对集体记忆的守护。

在这一系列作品中，我以福建的民俗故事为起点，找到更多具有相似性的故事文本，融合西方和东方的符号，试图在跨文化的语境下，探索民俗故事的多元表达与当代意义。我的创作不仅是对童年记忆的回溯，更是对民俗文化在全球语境下的重新审视--它们如何塑造我们的身份认同，又如何在不同文化中产生共振。

As l grew up, l left my hometown and crossed geographical and cultura!boundaries. l gradually discovered that folk stories do not exist inisolation, but are a common language across time and space. Whetherthe "tiger woman" in the East or the "demon" in the West, these storiescarry similar cultural functions in essence: they are fears of theunknown, moral lessons, and guardians of collective memory.

I was born in Fujian Province, which has a rich folk culture, and l have heard manyfolk allusions since l was a child. Among them, "tiger woman" is one of the ghosts lwas afraid of when l was a child, and it became a lingering shadow in my heart whenI did not want to fall asleep at night. When night fell and l resisted sleep, mygrandmother would tell me scary stories about "tiger wives" as a warning, saying thatchildren who did not sleep would be taken by tiger wives. This threat often worked,forcing me to close my eyes and fall asleep.

 7.熊若彤

艺术家形象照：

作品现场：

《燃烧》

Burning

 行为录像 4分10秒 2024

Behavior video 4:10 2024

作品简介：

我捡来生长在当地的不同自然植物，将它们缠绕连接，最后与我的头发打结在一起，从一端开始燃烧直至点燃我的头发。从白日到夜昏，等待天、时、地、人，风起雨停，我想要一场火。

I picked up different native natural plants, twined and connected them, and finally tied them together with my hair. Then I started to burn them from one end until my hair was set alight. From day to dusk, I waited for the right combination of the sky, the time, the place and people. When the wind blew and the rain stopped, I desired a fire. 

8.余昊&芦怡然

艺术家形象照：

作品现场：

作品信息：

《狐狸有洞，飞鸟有窝，人子却没有家》

Foxes Have Holes, Birds Have Nests, Yet the Son of Man Has No Home

文本，装置，尺寸可変，金箔纸、亚克力板、螺丝钉，2024

Text and Installation，Dimensions variable，Gold foil paper, acrylic sheets, screws，2024

作品简介：

《狐狸有洞，飞鸟有窝，人子却没有家》是一件融合了宗教、文化与事件的文本装置作品。艺术家通过深入采访20余位商丘归德古城的基督教徒们，促使他们以文字形式书写对《圣经》中关于家园、拆迁、房屋毁坏等经文内容的个人理解。这些文字被精心书写在金箔纸上，金色象征着神圣，而文字则承载着信徒们对信仰的坚守和转化。

作品中，每位信徒的解释虽各有千秋，却共同指向了一个核心信念——“我们要信奉上帝，一切都是上帝的指引”。这种普遍性的信仰表达，揭示了信仰在个人生活中的转化力量和社区内部的共鸣与团结。这件作品对现代社会中文化多样性和宗教信仰自由的一次谈论，它以其独特的艺术形式和深刻的主题内涵，引领观众思考信仰、文化与个人生活之间的复杂关系。 

"Foxes have holes and birds of the air have nests, but the Son of Man has no place to lay his head" is a text installation piece that intertwines religion, culture, and current events. The artist conducted in-depth interviews with over 20 Christians from the ancient city of Shangqiu, encouraging them to write down their personal interpretations of Biblical passages relating to home, demolition, and house destruction.These writings are carefully inscribed on gold leaf paper, with the golden color symbolizing the sacred, while the text carries the believers' steadfast adherence to and transformation of their faith.

In this work, although each believer's interpretation is unique, they all point towards a core belief - "We must have faith in God, everything is God's guidance." This universal expression of faith reveals the transformative power of belief in personal lives and the resonance and unity within the community.

This piece is a discussion on cultural diversity and religious freedom in modern society. Through its unique artistic form and profound thematic content, it leads viewers to contemplate the complex relationships between faith, culture, and personal life.

9.张钊

艺术家形象照：

作品一现场：

作品信息：

每日美妆

Daily beauty makeup

2021，纽约，5'39"，行为影像

2021, New York, 5'39", Behavioral Video

作品简介：

在脸上重复固定口罩的动作，使皮肤红肿，维持在破损流血的边缘。

Repeatedly fix the mask on the face, which makes the skin become red and swollen, staying on the verge of being broken and bleeding.

 作品二现场：

作品信息：

《马首是瞻耳东风已过万重山》

Follow The Horse's Lead! The East Wind Has Crossed Ten Thousand Mountains

2022，莫干山（湖州），30′00″ 行为剧场，ENACTMENT23驻地创作

2023，2023, Moganshan (Huzhou), 30'00" Performance Theatre, ENACTMENT23 Residency Creation

作品简介：

文明蔓延、历史交复

千千年已过

马成为了马，绿占领了绿

“艺术家在行为剧场中利用草垛、马匹和防尘网等，展现着一段时空杂糅的历史。马匹们结束训练，在放沙过程中啃食防尘网上的草垛，召唤出不明人形生物之后退场。后者用绿色防尘网覆盖草垛，并不断向外延伸，最终贯穿整个沙场并将一切打包。

马匹作为前现代军事力量的代表，其现身与退场隐隐折射历史势力的浮沉。绿色防尘网是当下城市建设中的常见材料，指向着现代化秩序的铺展。艺术家通过马的进食动作，唤起虚构的现代化神明将建设蔓延，在莫干山特殊的近代史背景下（春秋战国时期干将莫邪铸剑在此—清咸丰、同治年间的荒废与没落—民国时期外国传教士到此开发度假宅邸—国共第二次和谈—解放）回应现代化进程中各种历史话语残存的嗡鸣。”

——ENACTMENT23驻地策展团队演后评论

Civilization spreads and history repeats itself.

Thousands of years have passed.

The horse remains a horse, and green prevails over green.

"The artist makes use of haystacks, horses, and dust-proof nets in the performance theater to present a history where time and space are intermingled. After the horses finish their training, they nibble on the haystacks on the dust-proof nets during the sand release process. Then, after summoning an indistinct humanoid creature, the horses exit the scene. The latter covers the haystacks with green dust-proof nets and keeps extending them outward. Eventually, the nets run through the entire sand field and wrap everything up.

As a representative of pre-modern military power, the appearance and departure of the horses subtly reflect the rise and fall of historical forces. The green dust-proof net, a common material in current urban construction, points to the spread of modernization order. Through the horses' feeding actions, the artist evokes the image of a fictional modernized deity that spreads the construction. Against the backdrop of Moganshan's unique modern history (the forging of swords by Gan Jiang and Mo Ye during the Spring and Autumn Period and the Warring States Period, its abandonment and decline during the Xianfeng and Tongzhi reigns of the Qing Dynasty, the development of vacation mansions by foreign missionaries during the Republic of China period, the second peace negotiation between the Kuomintang and the Communist Party, and the liberation), the artist responds to the lingering echoes of various historical discourses in the process of modernization." 

——Post-performance Comments by the Curatorial Team of the ENACTMENT23 Residency Program

 10.朱安妮

艺术家形象照：

作品现场：

作品信息：

《颠倒的世界》

The Upside-Down World

数字绘画 300mm*533mm 艺术微喷 2024

Digital painting 300mm * 533mm, Fine Art Giclee Print, 2024

 作品简介：

作品以社交媒体与个体内在秩序为主题，聚焦于数字化时代对自我认知、知识建构与世界观塑造的影响。通过屏幕与社交媒体的感知方式往往流于表面，浅显而易逝，将个人的视与自我认知切割成无数零散的片段。我们在屏幕中窥见他人的影像，却难以捕捉到一个自我，这种感知方式让我们时而迷失，时而动摇。由内而外的审视与由外而内的审视交织进行着权力的拉扯。他人目光成为自我建构的映射，却因受限于碎片化的信息而显得破碎，模糊而错误。作品试图在虚拟与现实之间建立一种连接。书籍作为深度与完整性的象征，与社交媒体的碎片化和浅表性形成鲜明对立。作品邀请观众穿越被碎片化信息与快速视觉表达迷雾遮掩的世界所遮蔽的世界，新感知自我与他者的深度。

The work takes social media and the individual's internal order as its theme, focusing on the influence of the digital age on self-awareness, knowledge construction, and the shaping of worldviews. The way of perception through screens and social media often remains on the surface, shallow and fleeting, slicing an individual's vision and self-awareness into countless fragmented pieces. We catch glimpses of others' images on the screen, yet it is difficult to capture a sense of self. This way of perception makes us feel lost and shaken at times. The internal examination from within and the external examination from without interweave and engage in a tug-of-war of power. The gaze of others becomes a reflection of self-construction, but due to being restricted by fragmented information, it appears fragmented, blurry, and inaccurate.

The work attempts to establish a connection between the virtual and the real. As a symbol of depth and integrity, books stand in stark contrast to the fragmentation and superficiality of social media. The work invites the audience to traverse the world obscured by the fog of fragmented information and rapid visual expressions, and to newly perceive the depth of both the self and the other.

 （资料提供：寨子空间）